A New Philosophy

by Edouard Le Roy

Art is, to a certain extent, philosophy previous to analysis, previous to criticism and science; the aesthetic intuition is metaphysical intuition in process of birth, bounded by dream, not proceeding to the test of positive verification. Reciprocally, philosophy is the art which follows upon science, and takes account of it, the art which uses the results of analysis as its material, and submits itself to the demands of stern criticism; metaphysical intuition is the aesthetic intuition verified, systematised, ballasted by the language of reason.

Philosophy then differs from art in two essential points: first of all, it rests upon, envelops, and supposes science; secondly, it implies a test of verification in its strict meaning. Instead of stopping at the acts of common-sense, it completes them with all the contributions of analysis and scientific investigation.

We said just now of common-sense that, in its inmost depths, it possesses reality: that is only quite exact when we mean common-sense developed in positive science; and that is why philosophy takes the results of science as its basis, for each of these results, like the facts and data of common perception, opens a way for critical penetration towards the immediate. Just now I was comparing the two kinds of knowledge which the theorist and the engineer can have of a machine, and I allowed the advantage of absolute knowledge to practical experience, whilst theory seemed to me mainly relative to the constructive industry. That is true, and I do not go back upon it. But the most experienced engineer, who did not know the mechanism of his machine, who possessed only unanalysed feelings about it, would have only an artist's, not a philosopher's knowledge. For absolute intuition, in the full sense of the word, we must have integral experience; that is to say, a living application of rational theory no less than of working technique.

To journey towards living intuition, starting from complete science and complete sensation, is the philosopher's task; and this task is governed by standards unknown to art.

Metaphysical intuition offers a victorious resistance to the test of thorough and continued experiment, to the test of calculation as to that of working, to the complete experiment which brings into play all the various deoxidising agents of criticism; it shows itself capable of withstanding analysis without dissolving or succumbing; it abounds in concepts which satisfy the understanding, and exalt it; in a word, it creates light and truth on all mental planes; and these characteristics are sufficient to distinguish it in a profound degree from aesthetic intuition.

The latter is only the prophetic type of the former, a dream or presentiment, a veiled and still uncertain dawn, a twilight myth preceding and proclaiming, in the half-darkness, the full day of positive revelation...

Every philosophy has two faces, and must be studied in two movements—method and teaching.

These are its two moments, its two aspects, no doubt co-ordinate and mutually dependent, but none the less distinct.

We have just examined the method of the new philosophy inaugurated by Mr Bergson. To what teaching has this method led us, and to what can we foresee that it will lead us?

This is what we have still to find.